Weibliche”—a sentiment so dear to the German[249] mind and
one that plays such an important part in the music dramas of
Wagner. A dramatic and musical connection between the move-
ments is established by using, for this solo part, the melody
(intensified by augmentation) which in the second movement
typified the love and charm of Gretchen,e.g.
[Music: Das ewig Weibliche]
[Footnote 248: Translated as follows by Bayard Taylor:—
Chorus Misticus
All things transitory
But as symbols are sent;
Earth’s insufficiency
Here grows to Event;
The Indescribable,
Here it is done:
The Woman-Soul leadeth us
Upward and on!]
[Footnote 249: The way in which the Germans in the recent war
have applied this doctrine raises, we must say, many searching
questions.]
Notwithstanding the ultra sensationalism in some of Liszt’s works
there is no doubt that, in the closing pages of Faust, he has
produced an effect of genuine power and of inspired musical
beauty.[250]Faust, in fact, may be called a great work because
of the character of its leading melodies, its freedom of structure
and expression and its wealth of appropriate orchestral color.
For these merits we may overlook certain dreary passages where
it would surely seem as if the imagination of the composer were
not able to translate into tones all the phases of Goethe’s stu-
pendous drama.[251]
[Footnote 250: That this is the verdict of the public is shown
by the fact that, whenever of late yearsFausthas been given by
the Boston Symphony Orchestra, it has had to be repeated by
popular request.]